Tag Archives: music
As Hip Hop gets older and becomes assimilated into pop culture are we beginning to see a shift where the music is being overpowered by the culture? Valerie Lora, Jas Fly, LowKey & Mecca are joined by the UK’s @DJSnips. Twitter.com Twitter.com Twitter.com Twitter.comJasFly http Twitter.com For More Debates see: www.youtube.com Special Thanks: glaceau.com Edit by Hood House Productions For daily updates http
Music versus photography
Image by kevin dooley
Music and photography are my two passion hobbies, and they compete for my time. In the case above, they merge as the bokeh reflections are provided by the piano.
It was an interesting musical year for me. I concentrated mostly on piano (guitar is my first instrument) and mixes. I’ve loved listening to my son Andy compose about 50 songs, and we have both been learning the "DJ" technology.
This was the year I discovered rap and hip-hop. I am only 15 years late.
Here were the CDs that consumed my attention in 2011:
* Age of Adz & All Delighted People, Sufjan Stevens
* Whole Love, Wilco
* Book of Mormon soundtrack
* The Chronic, Dr. Dre
* Straight Outta Compton, NWA
* Low End Theory, Tribe Called Quest
* Original Gangster, Ice-T
* All Days are Nights, Rufus Wainwright
* The E.N.D., Black Eyed Peas
* Memories are My Only Witness, Yuka Honda
* Mixes by DJ JSlay and Nuno Endo, and swinghop
* Turntablists like Kid Koala DJ Signify, DJ Quest, and Mix Master Mike
* Anything by the Residents or Philip Glass
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Question by Curious: Why does the media use hip hop beats for background music on news stories?
What is the deal with this?
I’ve seen the media using hip hop beats for news stories. Such as showing off planes and also houses.
They are not trying to market to the ghetto either. They are marketing to people with lots of money that live in white neighborhoods.
WTF?
Best answer:
Answer by Tea Party Patriot
it is because they are racist
Know better? Leave your own answer in the comments!
Rap Music and Street Consciousness (Music in American Life)
In this first musicological history of rap music, Cheryl L. Keyes traces the genre’s history from its roots in West African bardic traditions, the Jamaican dancehall tradition, and African American vernacular expressions to its permeation of the cultural mainstream as a major tenet of hip-hop lifestyle and culture. Rap music, according to Keyes, is a forum that addresses the political and economic disfranchisement of black youths and other groups, fosters ethnic pride, and displays culture values and aesthetics.Blending popular culture with folklore and ethnomusicology, Keyes offers a nuanced portrait of the artists, themes, and varying styles reflective of urban life and street consciousness. Drawing on the music, lives, politics, and interests of figures including Afrika Bambaataa, the “godfather of hip-hop,” and his Zulu Nation, George Clinton and Parliament-Funkadelic, Grandmaster Flash, Kool “DJ” Herc, MC Lyte, LL Cool J, De La Soul, Public Enemy, Ice-T, DJ Jazzy Jeff and the Fresh Prince, and The Last Poets, Rap Music and Street Consciousness challenges outsider views of the genre.The book also draws on ethnographic research done in New York, Los Angeles, Detroit and London, as well as interviews with performers, producers, directors, fans, and managers. Keyes’ vivid and wide-ranging analysis covers the emergence and personas of female rappers and white rappers, the legal repercussions of technological advancements such as electronic mixing and digital sampling, the advent of rap music videos, and the existence of gangsta rap, Southern rap, acid rap, and dance-centered rap subgenres. Also considered are the crossover careers of rap artists in movies and television; rapper-turned-mogul phenomenons such as Queen Latifah; the multimedia empire of Sean “P. Diddy” Combs; the cataclysmic rise of Death Row Records; East Coast versus West Coast tensions; the deaths of Tupac Shakur and Christopher “The Notorious B.I.G.” Wallace; and the unification efforts of the Nation of Islam and the Hip-Hop Nation.
List Price: $ 26.00
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Block Music
Shawnna, daughter of the inimitable blues legend Buddy Guy, is meant to be huge; base that on tracks like “Damn”–as fine an ode to bootyliciousness as listeners far removed from the block will ever trip across–and the puff-chested, big-banging title track. But early boosts from BET aside (the kind that may be inevitable when DTP, Pharrell, Ludacris, Lil Wayne, Too Short, 8 Ball, Bobby Valentino, and world-class daddy Guy line up as insurance against a sophomore slump) Shawnna still feels like a best-kept secret–a hard-nosed, downhome chip off her old block. Late-disc surprises such as “Can’t Break Me” and “In the Chi” trade in the grit for go-deep truth-telling, and they’re bolstered by production that feels snap-tight in some places and billowy in others. Fourteen tracks in, the effect is somehow intimate, as if only block-centric types should be allowed a listen, but through skill alone, Shawnna’s made room on the stoop for the whole world. –Tammy La Gorce
List Price: $ 13.98
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